Ein Heldenleben
Ein Heldenleben (A Hero's Life),
Background
Strauss began work on the piece while staying in a Bavarian mountain resort in July 1898. He proposed to write a heroic work in the mould of Beethoven's Eroica Symphony: "It is entitled 'A Hero's Life', and while it has no funeral march, it does have lots of horns, horns being quite the thing to express heroism. Thanks to the healthy country air, my sketch has progressed well and I hope to finish by New Year's Day."[1]
Strauss worked on Ein Heldenleben and another tone poem, Don Quixote, during 1898. He regarded the two as complementary, saying they were conceived as "direct pendants" to one another.[2] There was speculation before the premiere about the identity of the hero. Strauss was equivocal: he commented "I'm no hero: I'm not made for battle",[3] and in a programme note he wrote that subject of the piece was "not a single poetical or historical figure, but rather a more general and free ideal of great and manly heroism."[4] On the other hand, in the words of the critic Richard Freed:
The music, though, points stubbornly to its own author as its subject, and Strauss did concede, after all, in a remark to the writer Romain Rolland, that he found himself "no less interesting than Napoleon," and his gesture of conducting the premiere himself instead of leaving that honor to the respected dedicatee [i.e., Willem Mengelberg] may well be viewed as further confirmation of the work's self-congratulatory character.[4]
Structure and analysis
The work, which lasts about fifty minutes, is
- "Der Held" (The Hero)
- "Des Helden Widersacher" (The Hero's Adversaries)
- "Des Helden Gefährtin" (The Hero's Companion)
- "Des Helden Walstatt" (The Hero at Battle)
- "Des Helden Friedenswerke" (The Hero's Works of Peace)
- "Des Helden Weltflucht und Vollendung" (The Hero's Retirement from this World and Completion)
Ein Heldenleben employs the technique of
- "The Hero": The first theme represents the hero.[5] In unison, horns and celli play E-flat major triads ascending through an almost three-octave span. A contrasting lyrical theme first appears in high strings and winds in B major. A second motive appears, outlining a stepwise descending fourth. Trumpets sound a dominant seventh chord followed by a grand pause, the only prolonged silence throughout the entire piece.[3]
- "The Hero's Adversaries": The movement opens with chromatic woodwinds and low brass: multiple motives in contrasting registers are heard. The adversaries represented by the woodwinds are Strauss's critics, such as the 19th-century Viennese music critic Doktor Dehring, who is memorably written into the score with an ominous four noteoffstage trumpets, repeated onstage, is then heard. The section ends with "a voluptuously scored love-scene".[3]The academic and criticlieder "Traum durch die Dämmerung", Op 29/1 and "Befreit", Op 39/1, are quoted once each.[7] The melodies lead into the final section.
- "The Hero's Retirement from this World and Completion": The reappearance of the previous "Hanslick" motive brings in an agitato episode. This is followed by a pastoral interlude with what Kennedy calls "a bucolic cor anglais theme".[3] The descending triad now appears slowly, cantabile, as the head of a new, peaceful theme in E-flat: this is the theme foreshadowed during the violin cadenza. In a final variation of the initial motive, the brass intones the last fanfare, and a serene E-flat major conclusion is reached, signaling the Hero's completion and fulfillment.[3]
Instrumentation
The work is scored for a large orchestra consisting of
In one section, the second violins are called on to play a G-flat or F-sharp which is a semitone below the normal range of the instrument, and which can only be accomplished by temporarily retuning their lowest string.
Dedication and performances
Strauss dedicated the piece to the 27-year-old
Reception
The German critics responded to Strauss's caricatures of them. One of them called the piece "as revolting a picture of this revolting man as one might ever encounter".[1] Otto Floersheim wrote a damning review in the Musical Courier (April 19, 1899), calling the "alleged symphony ... revolutionary in every sense of the word". He continued, "[t]he climax of everything that is ugly, cacophonous, blatant and erratic, the most perverse music I ever heard in all my life, is reached in the chapter 'The Hero's Battlefield'. The man who wrote this outrageously hideous noise, no longer deserving of the word music, is either a lunatic, or he is rapidly approaching idiocy."[13] The critic in The New York Times after the New York premiere in 1900 was more circumspect. He admitted that posterity might well mock his response to the piece, but that although "there are passages of true, glorious, overwhelming beauty ... one is often thrown into astonishment and confusion".[14] Henry Wood, with whose orchestra Strauss gave the British premiere, thought the piece "wonderfully beautiful".[15]
In modern times, the work still divides critical opinion. According to Bryan Gilliam in the
Various critics see the work as a flagrant instance of Strauss's artistic egotism, but a deeper interpretation reveals the issue of autobiography to be far more complex. Ein Heldenleben treats two important subjects familiar from earlier works: the Nietzschean struggle between the individual and his outer and inner worlds, and the profundity of domestic love.[16]
Whatever the critics might have thought, the work rapidly became a standard part of the orchestral repertoire. It has been performed 41 times at the BBC Proms since its premiere there in 1903.[17]
Recordings
There are many recordings of Ein Heldenleben, with three conducted by the composer himself. Important recordings include the following:
Notes
- ^ a b Glass, Herbert. Ein Heldenleben Archived January 29, 2018, at the Wayback Machine, Los Angeles Philharmonic, accessed September 6, 2013
- ^ Youmans 2010, p. 81.
- ^ a b c d e f Kennedy, Michael, Ein Heldenleben, notes to Chandos CD Chan 8518 (1987)
- ^ a b c d Freed, Richard. "Ein Heldenleben, Op 40", The Kennedy Center, accessed September 6, 2013
- ^ a b Ferguson 1968, pp. 571–575
- ^ a b c Hepokoski in Youmans 2010, pp. 102–103
- ^ Günter Brosche in Youmans 2010, p. 223
- ^ IMSLP.
- ^ Phillip Huscher. "Ein Heldenleben program notes" (PDF). Chicago Symphony Orchestra. Archived from the original (PDF) on September 24, 2012. Retrieved August 5, 2012.
- The Manchester Guardian, December 8, 1902, p. 5
- ^ Chalmers, Kenneth. Liner notes to Philips CD 456575 (1999)
- ^ "Fortsetzung der Richard-Strauss-Trilogie des ensemble mini Berlin".
- ^ "Perlman to appear in concert", News OK, October 11, 2002
- ^ "The Philharmonic Society", The New York Times, December 8, 1900.
- ^ Wood 1938, p. 163.
- ^ a b Bryan Gilliam, "Strauss, Richard, §7: Instrumental works", Grove Music Online, Oxford University Press, accessed September 6, 2013 (subscription required)
- ^ Proms performances of Ein Heldenleben
References
- Ferguson, Donald Nivison (1968). Masterworks of the Orchestral Repertoire: A Guide for Listeners. University of Minnesota Press. ISBN 978-0-8166-0467-8.
- OCLC 30533927.
- Youmans, Charles (2010). The Cambridge Companion to Richard Strauss. ISBN 978-0521899307.
External links
- Ein Heldenleben: Scores at the International Music Score Library Project
- Live performance on Frankfurt Radio Symphony Orchestra, conducted by Andrés Orozco-Estrada. Recorded at the Alte OperFrankfurt, December 11, 2015
- Strauss' Ein Heldenleben: Beyond Autobiography by Timothy Judd, September 11, 2017